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Wrapped in a shroud of fabled stories, forgotten characters, and haunted landscapes; Faux Fawn has emerged from their winter slumber with melodies not yet lost to the bitter frost. Upon releasing his debut album February Fables in 2011, frontman Paul Otteson garnered immediate recognition as a thoughtful storyteller and prolific songwriter. Four albums later, now with band in tow; his group has established itself as a mainstay in the Madison music scene.

Their upcoming album Lonesome Loon will be released December 6th. Admittedly darker and more reflective; this collection of songs takes the listener through a starless night, led only by the warm glow of Otteson and his band. Though slower paced than previous efforts, Lonesome Loon takes thoughtful steps drenched in lush harmonies and foreboding instrumentation.

The formation of Faux Fawn came in the spring of 2014, though it’s members have shared their brilliance from the very beginning. Luke Bassuener lends complex and unconventional wizardry on the drums; Tom McCarty is steadfast in his foundation on upright bass; Jeremiah Nelson renders layered waves and jazz voicings that create moments of beauty and sonic wonder on electric guitar, and Audre Krull warms the coolest breeze with her soaring voice. The result is a group dynamic filled with spontaneity and well-developed arrangements.

Nick Brown is a singer and songwriter based in Madison, Wis. A longtime musical collaborator and bass player, Brown released his debut album, “Slow Boat,” in 2012. The snow-country-tinted and heartfelt album was particularly well received among fellow malcontents and shiftless romantics.

“Nick Brown’s first album begins with the somber, arresting ‘Living That Way’ and proceeds to resourcefully bounce in all manner of directions, all the while retaining sparse, dignified arrangements. Brown plays with classic-country tropes on “Light Beer And Heavy Hearts,” goes on a smart-assed journey of disappointment on “Factory Farms,” takes a jaunty gambling trip to Canada on “Hold On Windsor.” Though this naturally makes for a slightly uneven experience, it’s also one of rewarding surprises, and one of the best singer-songwriter records a local artist has released in recent years.” — Tone Madison

Marty Finkel is the closest thing to a lifelong singer-songwriter you can find. From ditties composed as a toddler to teenaged guitar songs he composed before he knew any chords, Finkel has never been far from a song. After self-releasing three full-length records, one EP (and one record as side project Spinning Swords), Finkel makes his label debut with Might Be Found, on Slothrop Records.

In 2007, Finkel was a finalist for MSG’s Song of the Year’s writing contest (for “I Ain’t Been Sleeping At All”), and 2008 found Finkel nominated for two Madison Area Music Awards (one for Best Folk Album and one for Song of the Year).

Might Be Found showcases not only the breadth of Finkel’s talent, but also his growth as a songwriter: “When I began writing, my songs were more poetic/introspective and not as ‘toe-tapping.’ Since then I have moved away from that and have been writing more pop-based structures with lyrics that are more vague and allow for listener interpretation. When I’m working on an album the songs generally follow the same theme because they all represent the same chunk of my life,” Finkel says of his process.

On Might Be Found, Finkel’s songs glimmer with a unique optimism that shines in his songcraft and delivery. Even on songs like album opener “You Left Me First,” Finkel avoids wallowing and takes a matter-of-fact tone: “So stop your crying / I know it hurts / I’m not sympathizing / ’cause you left me first.” The up-tempo “Benjamin” was written as a tribute to The Graduate, one of Finkel’s favorite films, and was composed on his parents’ upright piano. The striking “Afraid to Die” was written for Elliott Smith, whose untimely death haunted Finkel’s dreams: “When I woke up I was obsessed with the notion that you could still write songs after you had died which I took some comfort in but in the end decided I was still afraid of death,” Finkel says of the song, which serves both as a salute to Smith and an affirmation of life. Though most of the songs traverse the familiar territory of love and loss, Finkel isn’t afraid to step into other lyrical terrain.